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Quiz von Marie Verstraete, aktualisiert more than 1 year ago
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Erstellt von Marie Verstraete
vor mehr als 8 Jahre
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6. The following voice texture became standard in fifteenth-century counterpoint:
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three voice
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four voice
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7. The following compositional approach was characteristic of late fifteenth-century counterpoint
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establishing the counterpoint between the tenor and cantus before adding additional voices
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composing all voices at the same time in relation to each other
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8. The increase during the fifteenth and sixteenth centuries in amateur music making for pleasure or social entertainment is a direct result of:
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the introduction of music printing and the wider dissemination of written music
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the closing of courts throughout France, Italy, and Germany
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9. The length of a pattern in modal rhythm is [blank_start]about 2-3 notes long[blank_end]
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about 2-3 notes long
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about 8-10 notes long
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about 5-6 notes long
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too irregular to determine
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10. Key musical developments during the fifteenth and sixteenth centuries are largely due to employment and travel opportunities associated with a new musical patronage created through the development of:
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a) Court chapels
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d) International music societies
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Florid organum uses measured rhythms
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- True
- False
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12. The synthesis of compositional elements from English, French, and Italian musical traditions led to this fifteenth-century compositional style: [blank_start]international style[blank_end]
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international style
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Burgundian style
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3. [blank_start]Humanism[blank_end] was an intellectual movement of the Renaissance that emphasized the study of human knowledge and achievement.
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Humanism
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Rationalism
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[blank_start]Discant organum[blank_end] features voices moving rhythmically at the same pace.
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Discant organum
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A medieval motet
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A chanson
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15. A work that employs rhythmic modes features [blank_start]irregular, shifting rhythmic patterns[blank_end]
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free rhythms with not specific patterns
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short, repetitive rhythmic patterns
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16. An Italian song form that uses a popular-style melody in strict canon is a [blank_start]chace[blank_end]
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chace
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caccia
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ritornello
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17. A forme fixe that contains only one stanza framed by a refrain that includes both sections of music used for the stanza is a [blank_start]ballade[blank_end]
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ballade
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rondeau
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virelai
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18. The term Ars Subtilior (the more subtle manner) was coined by music historian Ursula Gunther and based on a treatise by:
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Philippe de Vitry
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Guillaume de Machaut
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Philippus de Caserta
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Thomas Tallis
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19. Which of the following is NOT true of rhythmic modes?
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c) In each voice, different modes may alternate in a phrase
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d) In two-part polyphony, different modes are used in each part
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20. The leading composer of the ballata was [blank_start]Francesco Landini[blank_end]
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Francesco Landini
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Guillaume de Machaut
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21. What clue would help you distinguish between the Renaissance motet and mass?
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a) The use of specific words or phrases in the text
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b) The language of the text
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c) The use of isorhythm
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d) The harmonic language
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[blank_start]The chanson[blank_end] is a polyphonic song of the French Ars Nova
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The chanson
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The madrigal
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The frottola
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The form of each stanza of a ballade is:
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Abba
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aabC
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AAba
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25. A fourteenth-century allegorical narrative poem which used satire to comment on corruption in politics and the church was:
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a) Roman de Fauvel
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b) Roman de la Rose
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c) Chanson de Roland
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d) Roman de Fergus
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26. In an isorhythmic motet, the repeating rhythmic unit is called the [blank_start]talea[blank_end]
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talea
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color
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fusa
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27. A rhythmic technique in which two voices alternate in rapid succession, each resting while the other sings, is called:
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Hocket
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Cache
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Isorhythm
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Chace
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28. Ars Subtilior music was intended to be performed by:
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professional performers
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amateur performers
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street performers
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29. A fourteenth-century song for two or three voices without instrumental accompaniment is a:
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chanson
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madrigal
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chace
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caccia
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30. Isorhythmic patterns are [blank_start]mensural (measured)[blank_end]
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mensural (measured)
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modal
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31. The leading composer of the French Ars Nova was:
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a) Guillaume de Machaut
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c) Francesco Landini
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b) Philippe de Vitry
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32. The Landini cadence is executed in the following manner:
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a) The tenor descends by step while the UPPER voice descends to its lower neighbour followed by a skip up a third.
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b) The tenor ascends by step while the lower voice descends a whole step followed by a skip up a fourth.
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c) The tenor retains the root while the upper voice skips up a third.
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26. In an isorhythmic motet, the repeating MELODIC segment is called the [blank_start]talea[blank_end]
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talea
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color
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fusa
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34. Which of the following is true of monophonic textures?
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a) They feature only one voice or instrument per part
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b) They combine a melody with accompaniment
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c) They consist of a single melody
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d) They weave together multiple melodies
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35. Which of the following is NOT true of polyphonic textures?
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a) They must have more than one vocal or instrumental part
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c) They weave together multiple melodies
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b) They combine a melody with accompaniment
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38. The use of harmonic thirds and sixths is most common in the polyphony of [blank_start]France[blank_end]
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France
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Italy
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England
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40. A polyphonic setting in which all four voices sing the text together in essentially the same rhythm is called a polyphonic [blank_start]cauda[blank_end]
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cauda
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conductus
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motet
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41. In Aquitanian polyphony, the lower voice, responsible for the melody, is called the [blank_start]tenor[blank_end]
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tenor
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duplum
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42. The earliest surviving manuscripts of Notre Dame polyphony date from the [blank_start]11th C[blank_end]
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11th C
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12th C
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13th C
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45. Which voice is never part of an organum:
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b) Motetus
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c) Quadruplum
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47. The addition of newly written words for the upper voices of discant clausulae resulted in the development of the:
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motet
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polyphonic conductus
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cauda
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48. In English polyphony, a perpetual canon or round at the unison is called a
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rondellus
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rota
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cauda
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50. A self-contained section of organum, setting a word or syllable from the chant and closing with a cadence is known as a
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color
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clausula
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discant
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organa
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65. Poet composers of southern France were known as:
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trouvères
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troubadours
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71. Proper chants are named according to their:
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Function
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Initial words
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66. Ordinary chants are named according to their:
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Function
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Initial words
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